Abstract

Craig Richardson here addresses key areas of cultural politics and identity in a way that not only illuminates the development of Scottish art, but teases out another strand of the plurality of developments which led to the success of artists throughout the UK in the 1990s. Providing an analysis and including discussion (interviewing artists, curators and critics and accesssing non-catalogued personal archives) towards a new chronology, Richardson here examines and proposes a sequence of precisely denoted 'exemplary' works which oulines a self-concious definition of the interrogative term 'Scottish art'.